This exhibition brings our attention to the intrusions industry, with its attending population, and tourism have made in the Pilbara. It reminds us how our interaction with nature can upset the status quo; that something as simple as removing a rock or leaving something behind has its effect. While informing us of these facts, the artists manage to show us minute and magnificent aspects of the region in their excellent works, and display a sense of pride of place.

Jean-Marc Rivalland hints at the early settler's attempts to accept aspects of their new environment by bringing pieces of it into the domestic realm. His installation Common Wealth involves found pieces of dried coral set in his original ornamental bronze bases and placed, like vases of flowers, on a table beneath a photograph of a refined young lady. In reverse manner Stephanie Culling shows how wild life can also adapt to changes in their 'domestic' environment. Her sculpture Resumption sets beautifully formed white ceramic eggs in an eagle's nest made of white painted spinifex, twigs and barbed wire.

Large layered watercolour paintings by Carolyn Marks depict close-up examinations of coral, rock and pebble. Her well presented exhibits advocate a 'look and leave' attitude when investigating nature. Unfortunately she negates that statement by removing her inspirational specimens from nature and displaying them in mirror lined boxes. And Louise Elscot covers tree roots, rocks and coral with yellow ochre and gold leaf to add drama to her fascinating series of photographs Interaction. In doing so she too intervenes with nature for the sake of art. Both artists have a keen eye and well developed skills, they need only co-ordinate form with content.

Philip Partington translates the landscape into maps, legislation, trains and names in two fascinating exhibits. But it is his simple Paintchart of standard hues with site specific names that makes a powerful statement. It reminds us how naming something gives us a sense of ownership. Meanwhile Peter Ellis employs new computer imaging with traditional oil painting in recognition of the artificial sense of reality many have of the Pilbara. It is believed the landscape is ever strong yet nature maintains a delicate balance, one that needs to be aggressively protected. His finely painted Violet Chopper in Noiseless Gorge will do this very well.

John Collis looks at the landscape and considers it in the realms of time and space, as well as the physical. His bold abstractions translate earth, water and air into colour, pattern and hidden layers of acrylic on canvas. Without leaving so much as a footprint, he penetrates the wonders of nature.

There are many more equally interesting exhibits and not a one can be faulted. The exhibition is visually pleasing as well as thought provoking, attesting to the well developed skills of contemporary artists from the Pilbara. See it, enjoy it, think about it. Kudos to the curator Annette Davis.